Gallery
Charcoal drawings
150 x 120 cm
SilkScreen Print
45 x 45 cm
SilkScreen Print
45 x 45 cm
SilkScreen Print
45 x 45 cm
SilkScreen Print
45 x 45 cm
SilkScreen Print
45 x 45 cm
SilkScreen Print
45 x 45 cm
SilkScreen Print
70 x 50 cm
Manipulated Photography
172 x 110 cm
Manipulated Photography
172 x 110 cm
Paint in map
240 x 400 cm
Charcoal drawings
150 x 120 cm
Charcoal drawings
150 x 120 cm
Tufting
50 x 60 cm
Wood, Stainless Steel, 3D Prints.
180 x 200 x 50 cm - 125Kg
Bronze
50 x 40 x 30 cm - 19Kg
Embroidery
180 x 200 x 50 cm - 125Kg
Ceramic
40 x 40 x 13 cm - 5Kg
Videos
From Akka To Gaza
Lines of Flight
About the Exhibition
Navigating New Territories: Manal Mahamid's 'Lines of Flight'
Emerging from the heart of Waterford, the ground-breaking exhibition "Lines of Flight," spearheaded by visionary Palestinian conceptual artist Manal Mahamid, delves into the essence of movement and transcendence across imposed boundaries by engaging with themes of ecology, migration, and the relentless search for belonging (Rijke & Minca, 2018).
"Lines of Flight" is not just an exhibition; it is a confluence of Mahamid's prolonged exploration of the human condition through the lens of displacement and environmental dialogues. Inspired by Gilles Deleuze and Félix Guattari’s (1987) philosophical concept of ‘lines of flight’ the exhibition encapsulates how individuals and societies navigate out of social, political and physical territories of control, as well as dominant regimes of being and thought. In the exhibition Mahamid explores the metaphorical and literal odyssey of survival and adaptation, drawing inspiration from the remarkable navigational abilities of the nonhumans that are seen to mirror the struggles of the Palestinian populace (Mahamid 2024). Their journeys reflect the multifaceted strategies of the line of flight, which are not just acts of escapism but ‘transformative voyages akin to water flowing through cracks of oppression, disappearing towards a hopeful horizon’ (Mahamid 2024). On another level migratory lines of flight resonate with the ongoing and historical travails of Palestinians, navigating through a maze of borders, checkpoints, and obstacles in their perpetual pursuit of reclaiming their ancestral lands, embodying resilience and adaptability amidst socio-political upheavals (see Rijke and Minca 2018).
Central to the exhibition is a series of sculptures/installations drawing upon Mahamid’s Palestinian heritage and her reflections on global issues of migration and border politics. One such piece, depicts a blended hybrid creature that symbolizes various migratory instincts with the universal quest for a homeland (Quran, 2015). This piece not only challenges the viewer to reconsider the notion of borders but also pulsates with the current war in Gaza, highlighting the resilience of those navigating the harsh realities of displacement.
In a poignant extension of this narrative, the exhibition transcends into another dimension of the Palestinian experience, where a creature takes flight over the apartheid wall, symbolizing the ultimate line of flight literally and metaphorically (Quran, 2015). As it soars above and navigates the fragmented Palestinian landscape, the creature defies military barriers and checkpoints, boldly asserting the dissolution of borders. This act of liberation encapsulates the exhibition's central message. In the face of formidable barriers and divisive forces, there exists an enduring spirit of resilience and a yearning for unity capable of transcending even the most entrenched divides (see Abourahme, 2021).
Accompanying this sculpture is a video installation, "From Akka to Gaza," that juxtaposes the rugged landscapes of Palestine with those of Ireland, drawing parallels between their storied histories of displacement and resilience. In this work Mahamid fosters a dialogue that transcends geographical divides, promoting a deeper understanding of shared human experiences while fostering a new nomadic connectivity that transcends the state's striated space.
Through "Lines of Flight," Manal Mahamid continues to establish herself as a pivotal figure in contemporary art. Her works catalyze conversations about cultural identity, belonging, and the transformative power of art (Rijke, 2021). The exhibition also examines the nuanced implications of geopolitical strife and environmental sustainability on the global stage, urging a re-evaluation of how art interacts with these pressing issues.
As Mahamid shared in personal communication, this exhibition reflects on the constructed nature of boundaries and their transcendence, connecting metaphorically the physical barriers and journeys of survival and adaptation found in the animal kingdom with the struggles faced by the Palestinian people (M. Mahamid, personal communication, 2024; see also Quran 2015).
This exhibition serves as a heartfelt tribute to those grappling with the harsh realities of displacement. It draws inspiration from the tenacious spirit found in nature's most remarkable navigators and the resilient people of Palestine and Gaza as they carve their lines of flight in pursuit of historical justice and a place to call home.
This text was conceived and co-written by Ahmad El Adnan and Dr Sean O’Reilly, 2024
References
Abourahme, N. (2021). Revolution after Revolution: The Commune as Line of Flight in Palestinian Anticolonialism. Critical Times, 4(3), 445-475.
Deleuze, G. & Guattari, F. (1987), A Thousand Plateaus, University of Minnesota Press
Quran, L. K. (2015). Palestinian Artists and the Boycott, Divestment and Sanctions (BDS)
Movement.
Rijke, A. (2021). Checkpoint knowledge: Navigating the tunnels and Al Walaja checkpoints in
the occupied Palestinian territories. Geopolitics, 26(5), 1586-1607.
Rijke, A., & Minca, C. (2018). Checkpoint 300: Precarious checkpoint geographies and rights/rites of passage in the occupied Palestinian Territories. Political Geography, 65(5), 35-45.
Strohm, K. (2019). The sensible life of return: collaborative experiments in art and anthropology in Palestine/Israel. American Anthropologist, 121(1), 243-255.
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